Matthew Arndt is organizing a music/dance/spoken word recital based on Arnold Schoenberg’s Six Little Piano Pieces, op. 19, (1911). The Obermann Center has published an article about the recital and its connection to Professor Arndt’s research. Here is a poster for the event:
Two members of the music theory faculty, Matthew Arndt and Jennifer Iverson have recently been honored as Fellow-in-Residence at the Obermann Center for Advanced Studies. This award gives them a space to work on their research and writing at the Obermann Center, the chance to share and discuss work with other Fellows, $1000 for research, and the opportunity to apply for funding for interdisciplinary projects. Dr. Iverson is working in the same space that Dr. Arndt worked in in the fall (see photo), because it has the best mojo. During his Fellowship, Dr. Arndt completed the manuscript for his book project, “With God!”: The Musical Thought of Heinrich Schenker and Arnold Schoenberg. Dr. Iverson is working on three article projects, discussing the dawn of electronic music at the WDR studio in Cologne, John Cage‘s 1954 visit to West Germany, and the disabled body in electronic music.
With help from the School of Music and International Programs, Matthew Arndt presented a paper on Arnold Schoenberg at the European Music Analysis Conference (EuroMAC), held in Leuven, Belgium, September 17–20. Richard Taruskin, purported to be “the present day’s most notorious theorist-basher” (Arnold Whittall), gave the final keynote. Photo: St. Peter’s Church in Leuven.
Matthew Arndt has been named the 2010–2011 recipient of the David Kraehenbuehl Prize, which is a $2,000 award for the best article in the Journal of Music Theory over a two-year period by an untenured author. The Prize is awarded by a committee of three external reviewers who are senior music theorists. The committee reports: “Focusing on Schenker’s and Schoenberg’s Harmonielehren, Arndt argues that conflicts in their theories of composition result from a mere difference in emphasis within their shared conception of the tone. The argument arises from a magisterial command of two recent interpretive approaches: integration theory and metaphor theory. The result is a hermeneutical tour de force with its own unique methodological blend.”
With support from the UI School of Music and International Programs, Matthew Arndt attended the Seventh International Conference on Music Theory January 8–11 in Tallinn and Pärnu, Estonia. The conference was on the topic of musical form and featured keynotes by William E. Caplin and James Hepokoski. Arndt gave a paper on a problem of unrest in Arnold Schoenberg’s Little Piano Piece, op. 19, no. 2. The paper was well received, and he received some transformative feedback. The conference was held in conjunction with Pärnu Contemporary Music Days, and Arndt attended some interesting new music concerts. Photo: Tallinn.
Jennifer Iverson recently presented “Ligeti and the Evolution of Klangfarbenmelodie” at the 2013 Ligeti Symposium and Festival. The paper traces the dual lineages for the reception history of “sound-color-melody”, from Schoenberg and Webern through Adorno to Ligeti. A notable scholar and analyst in his own right, Ligeti both received and advanced the discourse around Klangfarbenmelodie in his scholarship and in his compositions. Iverson’s analysis shows that Ligeti used a rather Schoenbergian notion of Klangfarbenmelodie in Lontano (1967) while he developed ideas from the mid-century discourse around Webern’s music in the opening of the Cello Concerto (1966). Celebrating the 90th year of Ligeti’s birth, the festival brought together leading scholars, performers, and enthusiasts of his music.